Pablo Picasso, Bird No. 82, 1963
Pablo Picasso, Ceramic Madoura Sculpture, Bird No. 82, 1963
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|Artist:||Picasso, Pablo (1881 - 1973)|
|Title:||Bird No. 82, 1963|
Original Madoura white earthenware clay plate with decoration in engobe and enamel under partial brushed glaze with black patina
|Image Size:||DIAMETER: 10 in (25.4 cm)|
|Framed Size:||Approx. 19 1/4 in x 19 1/4 in (48.9 cm x 48.9 cm)|
|Edition:||Hand inscription on the underside of the plate in blue (under brushed glaze), 'EDITION | PICASSO NO 82 | 34/150 | MADOURA'; from the numbered edition of 150.|
|Condition:||In wonderful condition, the delicate surface retains remarkable freshness with clear markings.|
|Gallery Price: |
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Turning to glance behind him, this beautiful white bird stands gracefully in the center of the plate. It appears caught in its own world, unaware that we might be observing it. The bird's long, thin beak creates a strong parallel against the vertical lines of its delicate legs, creating a sense of compositional balance. Particularly noteworthy are the charming details on its beak and legs; tiny specks of black dot the bird's legs, while a gently flowing black line defines the bird's beak. Picasso's use of color and textural contrast is also significant, as the glazed areas of the white bird shimmer against the matte black background, further highlighting its lovely profile.
Created in 1963, this original white earthenware clay ceramic was published by the Madoura pottery studio in France. It is inscribed on the underside in blue under brushed glaze: 'EDITION | PICASSO NO 82 | 34/150 | MADOURA'; from the numbered edition of 150.
Catalogue Raisonné & COA:
1. Ramié, Alain. (1988) Picasso Catalogue of the edited ceramic works 1947-1971. Listed and illustrated as catalogue raisonné no. 482 on p. 248.
2. A Certificate of Authenticity will accompany this work.
About the Framing:
Framed to museum-grade conservation standards, this work is presented in a complementary moulding on a silk-wrapped support.
|Style:||Cubism, Blue Period, Rose Period, 20th Century Spanish Modern Master, Madoura ceramics of Vallauris, Vollard|
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Biography of Pablo Picasso
"Yet Cubism and Modern art weren't either scientific or intellectual; they were visual and came from the eye and mind of one of the greatest geniuses in art history. Pablo Picasso, born in Spain, was a child prodigy who was recognized as such by his art-teacher father, who ably led him along. The small Museo de Picasso in Barcelona is devoted primarily to his early works, which include strikingly realistic renderings of casts of ancient sculpture.
"He was a rebel from the start and, as a teenager, began to frequent the Barcelona cafes where intellectuals gathered. He soon went to Paris, the capital of art, and soaked up the works of Manet, Gustave Courbet, and Toulouse-Lautrec, whose sketchy style impressed him greatly. Then it was back to Spain, a return to France, and again back to Spain - all in the years 1899 to 1904.
"Before he struck upon Cubism, Picasso went through a prodigious number of styles - realism, caricature, the Blue Period, and the Rose Period. The Blue Period dates from 1901 to 1904 and is characterized by a predominantly blue palette and subjects focusing on outcasts, beggars, and prostitutes. This was when he also produced his first sculptures. The most poignant work of the style is in Cleveland's Museum of Art, La Vie (1903), which was created in memory of a great childhood friend, the Spanish poet Casagemas, who had committed suicide. The painting started as a self-portrait, but Picasso's features became those of his lost friend. The composition is stilted, the space compressed, the gestures stiff, and the tones predominantly blue. Another outstanding Blue Period work, of 1903, is in the Metropolitan, The Blind Man's Meal. Yet another example, perhaps the most lyrical and mysterious ever, is in the Toledo Museum of Art, the haunting Woman with a Crow (1903).
"The Rose Period began around 1904 when Picasso's palette brightened, the paintings dominated by pinks and beiges, light blues, and roses. His subjects are saltimbanques (circus people), harlequins, and clowns, all of whom seem to be mute and strangely inactive. One of the premier works of this period is in Washington, D.C., the National Gallery's large and extremely beautiful Family of Saltimbanques dating to 1905, which portrays a group of circus workers who appear alienated and incapable of communicating with each other, set in a one-dimensional space.
"In 1905, Picasso went briefly to Holland, and on his return to Paris, his works took on a classical aura with large male and fernale figures seen frontally or in distinct profile, almost like early Greek art. One of the best of these of 1906 is in the Albright-Knox Gallery in Buffalo, NY, La Toilette. Several pieces in this new style were purchased by Gertrude (the art patron and writer) and her brother, Leo Stein.
Picasso enjoyed creating his art on many media. From paintings to etchings to ceramics, all of his works are a testament to his skills. There are even Picasso prints that are worth more than unique original works.